The Music Roundup 26/06/25

Chicken man: During the pandemic, when his business travel corporate job went to Zoom, Joe Fenti found the funny in a fake company he created called Fenti Fried Chicken, posting a series of increasingly popular TikToks. His Jeremy Allen White “Yes, Chef!” bit got 12 million hits. He left workaday life for standup comedy and hasn’t looked back. Partner, his first special, just came out on YouTube. Friday, June 26, 8 p.m., BNH Stage, 16 S. Main St, Concord, $39, ccanh.com.

Blues therapy: After two comedy shows, Manchester’s newest venue offers music, with Tom Hambridge, a multiple Grammy winning drummer, including for this year’s traditional blues album, Buddy Guy’s Ain’t Done With the Blues. His own LP, Down the Hatch, was the recent nominee for Blues Rock Album of the Year as well. New England favorites Blues Express open the show. Saturday, June 27, 7 p.m., Queen City Center, 215 Canal St., Manchester, $35, eventbrite.com.

Sail away: Celebrate summer’s start as the Scott Spradling Band plays Yacht Rock With a Twist, a brassy take on the genre that wasn’t when songs like “Ride Like the Wind” and “Rosanna” were new; two filmmakers coined the name for a documentary. At least one musician didn’t love it — Steely Dan’s Donald Fagen, who had a two-word NSFW answer when asked for a comment. Saturday, June 27, 7:30 p.m., Rex Theatre, 23 Amherst St., Manchester, $34, palacetheatre.org.

Helping hands: To benefit a Manchester-based charity, the Pinnacle Foundation Country Fest features Whiskey 6 Trio, a rare appearance from local hero and The Voice veteran Josh Logan, Slip Shot, and Justin Bethune. The sixth annual fundraiser aims to fight homelessness, promote financial literacy and a path to homeownership, and support area veterans. Sunday, June 28, 12:30 p.m., Auburn Pitts Bar & Grille, 167 Rockingham Road, Auburn, $25, pinnaclefoundationnh.org.

Before the selfie

Snapshots and Harleys at Currier’s Summer of Photography

Instagram didn’t invent self-curation, a point brought home by a pair of commingling exhibits currently at Manchester’s Currier Museum of Art. Long before “personal brand” was an everyday term, people arranged themselves for the lens, deciding which version got preserved. The platforms changed, but the impulse did not.

“Together, Apart, Away: Snapshots from the Peter J. Cohen Collection” offers the sorts of family photos never intended for public viewing. “The Bikeriders,” conversely, is Danny Lyon’s celebrated collection of documentary photographs, taken in the 1960s while he was an actual member of the Chicago Outlaws Motorcycle Club.

Initially the two were separate, until Currier Curator of Modern and Contemporary Art Anastasia Kinigopoulo decided to join the exhibits “in conversation.” With a history of showing his work in museums, Lyon’s photos are more artistic, but Kinigopoulo realized they had much in common with the snapshots in Cohen’s collection.

“One of the things that Danny Lyon pioneered was a style of photography that feels very personal; in some ways, he was taking cues from vernacular photographs,” she said by phone recently. Joining them made sense. “For a long time, they wouldn’t have been found in museums alongside each other, but that’s very much changing now.”

What sharpens the pairing is a constraint both bodies of work shared, but one nobody currently under 30 ever lived with — not knowing right away how a photo came out. Shoot 100 pictures, discard 99 and keep the perfect shot is today’s rule. With vernacular photos, however, the process was snap the shutter, then wait to see what developed.

For example, there’s a Lyon photo of a biker’s reflection caught in a rearview mirror. It’s a shot that couldn’t be restaged after the fact. This was the mid-1960s, and no biker in Hell would be expected to take direction from a photographer seeking the perfect pose. “Mr. Barger, could you move over just a skosh?” Not happening.

The snapshot collection’s timeline runs roughly from 1880 to 1980 — a century of ordinary people, none of them artists, working from the same instinct that fills social feeds today: photograph the picnic, the road trip, the friends piled into a human pyramid, or a dog stuck in the motorcycle sidecar as a joke.

The Cohen collection is grouped in thematic “frames” of photos, all arranged by Kinigopoulo. For one, she paired a wall of open-road imagery with vernacular motorcycle photos. The choice pushes back against the violence-filled mythology of motorcycle gangs by showing ordinary people on bikes.

“I love the juxtaposition of this cultural symbol that permeated families and people’s lives in very different ways besides just as a sort of focal point of this very intense subculture,” she said, describing a photo of a father giving his daughter a ride, women on motorcycles, and bikes as punchlines instead of threats.

For a glimpse of Instagram’s vanity roots, she grouped snapshots of people performing for the camera. “An entire wall of photos of individuals essentially strutting their stuff … posing and building an identity through photographs,” she said. “People have always done that … they’ve always put on a persona for the camera.”

Lyon was Hunter S. Thompson with a camera, defining the difference between a documentary photographer and a tourist with a press pass. Kinigopoulo pointed to a portrait of a biker’s wife, Kathy, caught directly and then twice more in a pair of mirrors, a triple-exposed glimpse few could have gotten that close to.

Something Kinigopoulo has enjoyed during the “Summer of Photography” exhibition, which opened in May and ends Aug. 16, is seeing visitors linger on an object’s relatability. A group visiting during Bike Week marveled at how Lyon’s work reminded them of rides they’d taken and bikers they knew.

To her delight, everyday people will often see themselves or a loved one in a century-old shot.

“One of the things I really love about vernacular photography is its amazing universality,” she said. “People … look at those images and say, ‘I keep expecting to see an image of my grandmother or my aunt, or, ‘my God, look at this person, it looks so much like someone that I’m related to.’ That’s one of the magical things about the show.”

Summer of Photography: “Danny Lyon: The Bikeriders” and “Together, Apart, Away: Snapshots from the Peter J. Cohen Collection”
When: Wednesday through Sunday, 10 a.m. – 5 p.m., ending Aug. 16
Where: Currier Museum of Art, 150 Ash St., Manchester
Admission: $5 – $20, currier.org

Featured photo: Courtesy photo.

Field Day

Northlands Festival returns

As John Shields begins a phone interview, he’s also readying a jagged week of travel, a mini-tour that includes a quick show in Wisconsin, followed by his band’s first Bonnaroo, and concluding with the fifth annual Northlands Festival in Swanzey.

“It’s wonky,” he allowed with a laugh, “but the money’s good.”

A decade ago he co-founded the Charleston-based duo Little Stranger with Kevin Shields. Kevin and John aren’t related, but their shared last name has confused fans and strangers alike for years. They’re used to it, though. “Some people say, ‘I was just talking to your brother,’” John said. “At this point I’m like, ‘hell yeah, we’re brothers.’ We’re all brothers, man.”

The two did go to high school together outside of Philadelphia but ran in different circles and played with different bands. They reconnected years later, after John had attended the College of Charleston, played in a local band there, then moved back to Philly. After that, John returned to South Carolina and uncertainty.

Facing a music career playing in a wedding band or cobbling together restaurant gigs, he reached out to Kevin. A carefully composed email — John called it “romantic” — was enough to convince his friend to follow him south.

“I basically courted him to come down and join me in Charleston,” he said. “He did it, and he’s been here since.”

In short order they threw their gear in a Hyundai Sonata and embarked on a years-long grind through bars and clubs. Greg Knight saw them play for 15 fans at Brooklyn’s Knitting Factory in 2021 and came away impressed. Now he’s pleased to have them near the top of the bill at the festival he and Seth McNally launched a year later.

For McNally, Little Stranger’s brand of road-tested hustle is exactly what Northlands was created to celebrate.

“Independent festivals are crucial, beating hearts for the live music ecosystem,” he said in an email. “Northlands offers artists a relaxed environment to actually hang out, cross-pollinate, and collaborate with one another in an intimate setting.”

For first-timers at Northlands, McNally promises an experience that feels less like a concert than a community.

“We’ve designed the weekend to feel like a massive family reunion,” he said, “a boutique-style gathering where community, art installations, live muralists, and eclectic local food and craft vendors share the spotlight with the big bands.”

Little Stranger resists easy genre classification. Listeners and critics have variously called them hip-hop, indie, and reggae-adjacent. Shields has come to countenance this ambiguity. “Early on, I worried it would be a liability, but I’ve come to like that, and I think our fan base really enjoys it too.”

Live, Kevin acts as emcee with John live looping on guitar and employing drum and bass pads. A sax and trumpet player joined not long ago. “To beef up the live sound,” Shields explained, adding that shows are varied. “Something funny could happen in the crowd that becomes a thread throughout … we try not to repeat the same set every time.”

A new studio album, Broken Hearted Boys Club, arrives July 17. Little Stranger’s third LP, it includes collaborations with Andy Frasco, whose band The U.N. is playing Sunday at Northlands, along with members of the band’s growing extended musical family. The title refers to how a few of the latter group became John’s roommates.

“Four years ago I went through a bad breakup, and then Damn Skippy went through a bad breakup,” Shields recalled. “I was like, come on, move in, buddy. Then another good friend went through one, so we named the house Brokenhearted Boys Club. That’s where a ton of the music was made.”

Shields believes the new record is their most cohesive to date.

“There’s maybe a little more honesty in the lyrics,” he said. “We always write better when we’re happy, but even the sad songs on this one are kind of upliftingly sad. It’s the homies helping the homies out.”

The production, he continued, is intentionally raw, with fewer vocal edits, less tuning, more first takes. The Frasco collab, “Love You When I’m Sad,” is the third song the two have written together. “We banged it out in an afternoon from scratch at the house,” Shields said. “He’s just easy to write with, always throwing out ideas. He’s a great writer.”

The release will be followed by their biggest tour yet. They’ll play 800- to 1,500-capacity venues and, a far cry from their Hyundai days, travel by bus.

“That’s a big milestone,” John said, giddy. “It’s the first time we’ve truly lined up an album drop with a tour. Our albums always take longer to finish than you’d think. We feel like we nailed the rollout on this one.”

Northlands Festival
When: Friday, June 19, through Sunday, June 21
Where: Cheshire Fairgrounds, 247 Monadnock Hwy., Swanzey
Tickets: $25 and up (single day), $269 and up (three-day pass), northlandslive.com

Festival main performers
Friday, June 19
Dirty Heads, Little Stranger, Mihali, Circles Around The Sun, Ghost-Note, Magoo, Night Zero, and Hayley Jane Band
Saturday, June 20
Joe Russo’s Almost Dead, Dogs In A Pile, Lotus, The Slip, Kanika Moore & the Brown Eyed Bois, and Caylin Costello
Sunday, June 21
Disco Biscuits, Andy Frasco & The U.N., Super Sonic Shorties, Moontricks, Jennifer Hartswick Band, Dizgo, Sqwerv, Annie in the Water and DJ Brownie.

Featured photo: Courtesy photo.

The Music Roundup 26/06/18

Stacked show: A release event for cathartic Providence rockers Valoria’s EP From Me To You is a five-band affair, including the debut performance of the Jared Moore-led Paracress, whose lead single “Waste” shows a lot of promise. Rounding out the bill at the all-ages show are local favorites Paint the Town Dead, Under the Horizon and the cleverly named Good & You? Thursday, June 18, 7 p.m., Bungalow Bar & Grill, 333 Valley St., Manchester, $13, dice.fm.

String thing: Enjoy an evening of classical-ized rock on a candlelit stage with Blue Violin, a unique tribute act that turns anthems like “Stairway to Heaven” and AC/DC’s “Thunderstruck” into orchestral rockers. With live looping and wildly inventive violin solos from conservatory-trained Christopher Vuk, the show has been described as “Ed Sheeran meets Lindsey Stirling.” Friday, June 19, 7:30 p.m., Derry Opera House, 29 West Broadway, Derry, $32 and up, eventbrite.com.

Grunge gang: Bike Week takes a ’90s rock turn as Small Town Titans hits a Lakeside popup stage that will fold its tent in a few days. With influences like Deep Purple, Audioslave and Foo Fighters, the York, Pennsylvania, trio is known for covering cool songs from the era with a unique touch, like Michael Jackson’s “Black or White,” and its barcode rock TikTok series Will It Riff?. Friday, June 19, 8:30 p.m., Madame’s Bardello, 70 Endicott St. North, Laconia, smalltowntitans.com.

Happy ha-ha: During the early dark days of the pandemic, Jim McCue found a silver lining when he released a Dry Bar Comedy special and got three million views from quarantined fans looking to laugh. When live events returned, he opened an eponymous club that’s now celebrating a fifth birthday with McCue and many friends who’ve performed there. Saturday, June 20, 8 p.m., McCue’s Comedy Club, 506 Portsmouth Traffic Circle, Portsmouth, $25, eventbrite.com, 21+.

Scots shot: Since Scotland and their Cop Slide ride is the hit of World Cup-captivated Boston, Cantrip — an Old Scots word for charm — fits the bill for a night of music. The trio includes Dan Houghton on pipes, whistles and guitar, fiddler Jon Bews, and Isle of Lewis-born Alasdair White, who’s played with a bevy of the best-known musicians from Scotland, Ireland and Breton. Saturday, June 20, 7 p.m., Blasty Bough Brewing, 3 Griffin Road, Epsom, $20, cantrip-music.com.

Birthday boy

Cue Zero stages Sondheim’s Company

In 1970, Stephen Sondheim and George Furth’s Company seismically shifted the theater world. One of the first concept musicals, it was also groundbreaking for lacking a linear plot, and for being one of Broadway’s first productions to deal candidly with modern relationships, dating, marriage and divorce.

The play follows Bobby, a bachelor turning 35, as he visits the marriages of his closest friends, observing, deflecting, then gradually confronting what he actually wants from life. It won six Tony Awards, including Best Musical and Best Score, while receiving a record 14 nominations.

Company contains several Sondheim classics, including “Ladies Who Lunch,” “Someone Is Waiting” and “Being Alive.” One song in particular is a favorite of Dan Pelletier, founder of Cue Zero Theatre Company. He’s directing a three-show run of the musical opening June 19 in Salem.

“Sorry-Grateful” is a song built on contradiction — the idea that love is both burden and gift, and neither cancels the other out. For Pelletier, it lands differently at 35, both his age and Bobby’s at the surprise birthday party thrown by his friends that opens the show, than it did in his early 20s.

In a recent phone interview he talked about seeing the show in college.

“This doesn’t make sense,” he recalled thinking at the time. “One of my professors told me, ‘This is a show you’ll want to come back to in 10 or 15 years’ … and now, it all makes so much more sense.”

Pelletier is no stranger to Sondheim. This is his third time directing the composer’s work; he’s also helmed productions of Into the Woods and Assassins at Cue Zero. However, Company is probably the most personally resonant for him.

“I got married this past October,” he said. “So, kind of very relevant to me.”

Pelletier takes a minimalist approach to set design for the Cue Zero production, with the stage and its furnishings all black and white.

“This represents Bobby’s perception of relationships and marriage at the beginning of the play,” he said. “Then the characters have a lot more color and nuance to them. It shows what he needs to realize, that it’s not that simple.”

Cue Zero’s three-quarter thrust floor configuration at the Arts Academy of New Hampshire is a key production element. It’s an intimate black-box-style space seating 115, with no audience member more than 20 feet from the performers. Thus, the crowd isn’t just watching the main character’s interior life; they’re part of it.

“We want the audience to be treated as an extension of Bobby’s mind,” Pelletier explained. “So when the actors are saying certain things, they can convince all of the other people in the room of whatever it is they’re trying to get across.” By using them as co-conspirators, he continued, the audience believes it’s helping Bobby come into agreement.

As for whether Bobby’s problem is simple commitment aversion, Pelletier sees something more layered.

“A lot of it has to do with a misunderstanding of what it really means to be in an adult committed relationship,” he said, “and what it means to be open and vulnerable with another human being.”

Matt Brides, who plays Bobby, and Pelletier have worked through the vignettes carefully, treating each not as scenes in chronological order but as the moments that hit Bobby hardest on his inward journey.

“Who he thinks he is and who he actually is,” Pelletier said, “are not perfectly in alignment.”

More than once, Company was tweaked to reflect changing times, first by Sondheim and Furth in the early 2000s. Recent Broadway revivals have swapped Robert for a female character named Bobbie in the lead role. Pelletier also had thoughts about modernizing it, but changed his mind.

“I had this vision of the opening number as a Zoom call, like Bobby trying to FaceTime 13 different people all at the same time,” he said. “But I just don’t think we’ve got the resources and the time to do that. Maybe in another five to 10 years I’ll come back to it. Who knows what social media will look like then?”

Company by Stephen Sondheim & George Furth
When: Friday, June 19, and Saturday, June 20, at 7:30 p.m., and Sunday, June 21, at 2 p.m.
Where: Arts Academy of New Hampshire, 19 Keewaydin Drive, No. 4, Salem
Tickets: $20, cztheatre.com

Featured photo: Company. Courtesy photo.

Laugh City

Indie comedy grows in Manchester

When he last was in Manchester, Shane Torres appeared at Shaskeen Pub. In 2021, it was one of the few places in the city for his brand of comedy. Since then, though, the scene has grown. Comedy at Queen City Center began in April, Strange Brew Tavern’s Laugh Attic has a good groove going, and now a theater district coffee bar is in the game.

Early returns are more than encouraging. The Moka Pot, near the corner of Elm and Hanover, has two shows with Seattle comic Bo Johnson on April 12. The early set sold out weeks ago, with only a few tickets remaining for the late one. Coming up are Aaron Berg (July 31 and Aug. 1), Brendan Sagalow (Aug. 8) and Robby Slowik (Aug. 21).

The Moka Pot is ready, with a recently issued liquor license and new LED lighting array. Alex LaChance is the venue’s comedy booker. With fellow comic Nick Sands, LaChance also runs the game show parody Wrong Hill to Die On at the Shaskeen, which returns for a third time on July 14. The first Wrong Hill event sold out, and the second came close.

The day after Johnson’s show, Torres will appear at Queen City Center. The laconic Texas native has had a lot of success since his last visit. His first special, The Blue Eyed Mexican, came out at the end of 2023. Vulture praised its “beautiful directness and keen sense of good storytelling,” calling it “a refreshing combination of delicate and obscene.”

Torres’s other recent credits include The Late Show With Stephen Colbert, though he didn’t get the McCartney treatment when he appeared, as Colbert was out of town that night. The host pretaped introductions for him and a few other comics. “Sadly, it was not the version I’d dreamed of,” Torres said by phone recently. “No couch, no Stephen.”

Another late-night talk show helped elevate Torres in 2017. He appeared on Conan O’Brien and went viral for defending shock-haired Food Network host Guy Fieri. It was 10 years ago, but the bit still follows him around, and he professes to be at peace with his “Free Bird” moment.

“I don’t do that bit anymore, but sometimes people will call for it,” he said. “Like, I was in Seattle doing Fremont Abbey, a really cool room, and somebody yelled something about Guy Fieri. This other guy shouted, ‘That’s how I heard about you,’ and another one said, ‘Me too!’ So I have that to be grateful for.”

He and fellow comedian Katherine Blanford’s Coastal Idiots podcast stands out in a crowded field. The two “frenemies” have a delightful Odd Couple banter well-suited to Torres’s laid back demeanor. Recurring bits include a contest to guess the sale price of various works of art, some museum worthy, others county fair castoffs.

Torres balances all this with incessant touring.

“Last year I did something like 250,000 miles, and that was just on Delta,” he said. “Not even including riding on a tour bus for a few weeks, or driving from Chicago to Milwaukee to Madison to Minneapolis. The only mileage accounted for is just through the Delta app.”

He’s looking forward to coming back to Manchester, recalling doing many shows at the Shaskeen when it was booked by Nick Lavallee, who’s now in charge of Queen City Center’s comedy events, and will also be opening up his Wicked Joyful retail store in the Canal Street facility on June 20.

Torres enjoyed hanging out with Lavallee in the Shaskeen days.

“I always had fun there,” he said. “Nick is a friend; he’s an old indie rock kind of punk rock guy like me. That’s the kind of culture and stuff he came up in as a kid. So we had a little bit of that in common.”

Along with the success Torres has experienced since his last visit is a newfound desire to savor it more, including when he’s back in New Hampshire.

“I will appreciate being in this place more presently,” he said, adding, “There’s a difference between logically knowing you’ve moved forward … and feeling it, recognizing it and appreciating it.”

Torres’s next big career milestone happens after his Manchester show. In August he’ll head to the legendary Edinburgh Fringe Festival, where he’ll perform his one-man show, tentatively titled Skinned Knees. The show is about his mother’s coma and his father’s homelessness, framed as comedy about what home means and what masculinity looks like.

“It’s going to be terrifying,” he said, adding that he hopes people will find laughs among the show’s poignancy. “I’m afraid people are going to be like, ‘You’re brave!’ And I’ll be like, ‘and funny?” That’s a real fear, but also a self-deflating (and funny) joke in his statement, a combination that is the Shane Torres essence.

Bo Johnson
When: Friday, June 12, 9:30 p.m. (7 p.m. show sold out)
Where: Moka Pot, 8 Hanover St., Manchester
Tickets: $25, eventbrite.com

Shane Torres
When: Saturday, June 13, 6:30 p.m.
Where: Queen City Center, Canal Street, Manchester
Tickets: $25, eventbrite.com ($30 day of show)

Featured photo: Courtesy photo.

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